DC8C v3.0.1 WiN MAC

SYNTHiC4TE | July 06 2018 | 115 MB

Advanced Compressor

DC8C is one of the most flexible compressors around.

While making a lot of different compression styles possible, it’s general nature may be described as: clear, smooth, open, distinct.The main goal while designing DC8C was to get a very clean compressor action without unwanted and often almost unevitable artefacts/distortion. This way you can achieve almost invisible compression for your most demanding mastering sessions, when you want to avoid coloration. If you aim for colour you can choose between two saturation models. From opto style, peak compression, RMS compression, Feedback, Feedforward compression (and everything inbetween) to negative ratios, zero latency brickwall limiting, from snappy transient treatment to smooth transient rounding – everything is possible.

06/27/18 version 3.0.1:
– FIX: attack and release labels on the GUI of SMOOTH, PUNCH and SNAP Easy modes to match their actual ranges
– FIX: latency reporting in the VST3 version in Studio One
– NEW: added option to the global settings to disable dynamic latency reporting
– USE CASE: some hosts do not adjust latency for offline rendering separately. So when you have your Realtime OS set to eg. 1x and the Offline OS to 2x some hosts might not adjust the changed latency correctly during rendering.
— Currently I’m only aware of Studio One is behaving like that when the VST3 version of a plugin is being used. So if you’re encountering issues like that, you can use this new option in the global settings.
— If dynamic latency reporting is disabled, DC8C always reports the maximum possible introduced latency (128 samples) regardless of the oversampling settings. To stay in sync differences between reported and actual latency are compensated by an internal delay.
– NEW: added option to the global settings to have equal OS settings for realtime and offline(render) processing
– USE CASE: If your hosts doesn’t adapt to latency changes when rendering, you can optionally apply equal OS factors for both realtime and offline processing to keep things in sync.
– The advantage to the aforementioned option is, that you still can use DC8C with 0 latency when no OS is being used instead of the fixed 128 samples. The downside is, that you can’t set a separate OS factor for offline processing, hence the realtime factor is being applied during render too.

TridA-Pre v1.1.0.388 WiN

Team V.R | July 06 2018 | 54 MB

(Win32/64; AAX, VST3, VST)

Prized and rare musical EQ

For decades, the concept of pop music was synonymous with Trident Studios, the pioneering facility in the heart of London’s Soho district. Their client list reads like a who’s who of pop: The Beatles, Elton John, David Bowie, the Bee Gees, Genesis, Frank Zappa, Joe Cocker, Kiss, Lou Reed, Peter Gabriel, Marc Almond, Soft Cell, Queen, the Rolling Stones, Thin Lizzy, Tina Turner, T-Rex, and Yes. At the heart of the studio’s sound was the Trident A Range console. It became so well known for its gorgeous, musical EQ and the full, rich tone it imparted soon, studios around the world were placing orders for an A Range of their own. Although only 13 were ever made, they created a legacy that continues to this day.

V76-Pre v1.1.0.388 WiN

Team V.R | July 06 2018 | 49 MB

(Win32/64; AAX, VST3, VST)

Finest vintage tube preamp

From its broadcast origins to its use on some of the best-selling, most enduring records of all time, the V76 preamp has played a pivotal supporting role in the story of pop music. Loved by the engineers and technicians at Abbey Road, and incorporated into their iconic REDD mixing consoles, the V76 coveted for that “White Album” sound, every major studio in the world wanted a piece of the action, and tens of thousands of Telefunken preamps were created to meet the demand. These days, due to scarcity and cost, it’s practically impossible for most musicians and producers to pick up one of these legendary preamps. In the same way Arturia built its reputation on recreating legendary, rare synths and keyboards through advanced modelling, we decided to use our TAE® technology to give everyone the chance to experience that legendary V76 sound.

1973-Pre v1.1.0.388 WiN

Team V.R | 07 Jul 2018 | 111 MB

(Win32/64; AAX, VST3, VST)

British iconic sound of the 70’s

The subtle nuance and tonal flavor added by a vintage preamp can have an amazing overall effect on the music you create. For years, top producers have coveted the sound of the venerable 1073 preamp. Now – through the power of Arturia’s advanced TAE modelling – you too can have a taste of that harmonically rich, classic tone in your DAW. Devised by visionary electronics engineer and pro audio legend Rupert Neve, the preamp became a staple of the world’s top studios, and added its unique tonal flavor to countless hits. It was a revolution in 1970, pioneering the use of reliable high-efficiency transistors to replace the temperamental vacuum tube technology of the time. The sound of the preamp became an instant hit with record producers, sound engineers, and artists the world over, cementing its place in music history.

M12-Filter v1.1.0.389 WiN

Team V.R | July 06 2018 | 86 MB

(Win32/64; AAX, VST3, VST)

If you want a filter with depth, character, and complexity; look no further.

M12-Filter is a full-featured recreation of the multi-mode filter found in Oberheim’s iconic Matrix-12, kitted out with awesome updates that make this plugin one of the most powerful, performable sound-shaping tools around. Combining intuitive, gorgeous-sounding modelled analog filter tone control with programmable modulation envelopes, a detailed mod matrix, and bonus random and mod osc parameters, M12-Filter is set to become your go-to choice for creative frequency control. Create anything from smooth sweeps to rhythmic motion, all the way to full-blown, randomized glitch meltdowns: this plugin can handle it all.

The most advanced, adaptable filter of its era
In 1984, audio and electronics legend Tom Oberheim developed a groundbreaking subtractive, analog polyphonic synthesizer; a brave move when the digital synth revolution was taking the industry by storm. Standing the test of time, his brainchild instrument is now considered a classic, and our emulated version takes pride of place in V Collection. One of the main reasons it turned heads in the 80s was its audacity, the sheer power of its signal routing options, and its multi-mode filter. The original synthesizer’s filter employed a single filter per voice, but provides no fewer than 15 different filter modes. This included Low Pass and three High Pass modes, two Band Pass modes, a Notch filter, and a Phase Shift mode. It also included another 4 modes, combining 1-Pole Low Pass filters with other modes. This unique selection of filter options is largely responsible for the immense power and scope of the fabled Matrix sound.

Main Features

Virtual recreation of the Matrix 12 multimode filter

2 instances of the Matrix 12 filter within one plugin instance

15 disctincts filter modes available per filter instance

Cutoff frequency, resonance, pan and out volume controls for each instance

Mini-Filter v1.2.0.389 WiN

Team V.R | 07 Jul 2018 | 87.8MB

(Win32/64; AAX, VST3, VST)

Ever wanted to use one of the world’s most famous synth filters in your DAW?

The classic filter from our lovingly recreated Mini V software instrument is now in a dedicated plugin. Now you can add the familiar filter tone to warm or smooth out your audio, or to add sweetness to a sensitive recording. Not only that, but Mini-Filter also includes a powerful modulation section which consists of an envelope follower, an LFO, and a step sequencer. A patch manager is also built-in, along with a set of presets to inspire your creativity. An essential, expressive, and creative tool for any producer or performer.

Main Features

Virtual recreation of a 24dB/oct Low Pass Ladder filter:

Drive parameter

Cutoff Frequency and Emphasis

Dry/Wet setting

Output volume setting

Low Frequency Oscillator

Can be synchronized with DAW’s clock

4 waveforms + Sample and Hold mode

Phase parameter

Can modulate the Cutoff, Emphasis and Cutoff modulation amount of the Sequencer

SEM-Filter v1.1.0.389 WiN

Team V.R | 07 Jul 2018 | 104.3MB

(Win32/64; AAX, VST3, VST)

Combining simplicity with pure tone-shaping power, SEM-Filter is a futuristic twist on a classic synth filter. Renowned for its pioneering technology in the 70s, we paid tribute not only to its sound but also the SEM’s reputation as a trailblazer. Using the meticulous modelling techniques, and by adding exciting new features, we have created a true modern classic audio filter. No longer confined to a synthesizer, you can now use the era-defining filter tone of Tom Oberheim’s cult synth module on any audio source you wish. Process acoustic instruments in your DAW, shape vocals, perform sweeps on your whole mix, create builds, rises, and drops, even use it to improve a soft-synths stock filter.

Reference 4 Studio Edition v4.1.2.14 WiN

Team V.R | July 07 2018 | 22 MB

Finally you can work with confidence on the setup you have. Reference 4 removes unwanted coloration from your studio speakers and headphones, so you can trust that you hear your mix accurately. Reference 4 Studio Edition offers the full package of highly powerful software, providing consistent reference sound both in the studio and on the go. Measure your studio with a measurement mic, it takes around 10 minutes. Reference 4 then creates a calibration profile. For headphones select a pre-made profile, and you’re ready to go. Calibration can be run in DAW via plugin for lowest latency or via Systemwide for maximum versatility.

SLM2 v1.1.0 WiN

TEAM V.R | 11 July 2018 | 3.78 MB

(Win32/64; AAX*, RTAS, VST3, VST)

SLM2 is a smart stereo loudness maximizer including “analog spice” and 16x over-sampling. The goal of the design was to maximize the loudness of the audio signal while maintaining transparency. The SLM2 DSP analyses every sample of the incoming stereo signal within a defined time frame and calculates the optimal volume increase. This guarantees maximum possible transparency. The overall loudness can be further increased by the following, optional clipper stage. Signal aliasing can be reduced by enabling over-sampling.

Hip Hop East Coast Champions

DISCOVER | 02 FEBRUARY 2013 | 342 MB

WAV MiDi FLP

‘Hip Hop: East Coast Champions’ brings you ten Construction Kits in the style of New York hit-makers such as Rick Ross, 50 Cent, Ghostface Kiilah, Method Man, Jay Z, and many others. Complete with drums, synths, FX and more, these Royalty-Free elements are ready to be rearranged and edited to create all new smash hits. Everything you need to create authentic Hip Hop East Coast tracks is here, including synths, pads, electronic drums, FX and more.

Royalty-Free:All loops are Royalty-Free, meaning they can be used as part of a commercial release at no extra cost.